American photographer Catherine Opie combines portraiture and documentary photography in her photographic series titled Domestic. At the center of this series lies the idea of community and the question of how community is constructed, a theme which unites Opie’s seemingly disparate bodies of work. Domestic depicts lesbians from across the United States in scenes of domesticity, living as couples, families, and housemates. Using formal portrait conventions to aestheticize the images, Opie photographed her subjects in and around their actual homes to create images that are documentary in essence. The series works to represent the lesbian community, which Opie felt had been underrepresented in American fine art photography, as well as present an alternative to the heteronormative view of domestic life in America.

An urban community is a fusion of new and old that is constantly changing. We understand better the plight of a community through raising awareness of its unique history and visual character. Linking individual and community experiences offers an opportunity for dialogue, especially as long-time residents and their new neighbors learn about their different pasts and explore their common future. Community building happens from within, when many individuals sharing common values create positive change.

This interdisciplinary project offers new research to introduce the American cult of the bosom, which emerged in the years following the Revolutionary War and helped shape the discourse around women’s roles in the early republic. The cult of the bosom sought to shift the way in which the female body, and especially the bosom, was regarded and represented by identifying it as the locus of a number of positive qualities associated with women, including virtue, modesty, beauty, and grace. This shift constituted, in the minds of citizens, a significant way in which American culture honored and celebrated women. Additionally, the cult of the bosom tied the bosom’s privileged status to a broader patriotic rhetoric that celebrated the special differences of America’s women and American culture as a whole, and insisted that, while most citizens of the world saw its potential to gratify lust, Americans were sufficiently enlightened to consider and celebrate the bosom’s ‘true’ function as a signifier of sacred womanhood. Through a variety of cultural materials, this project traces the points at which beauty, virtue, femininity, and the female body intersected in the early republic and the implications of these intersections for the political and social status of women. The study consists of five thematic chapters, which address textual foundations for the discourse on the bosom and female modesty in early republican America and examine female portraits of the period in order to identify the visual codes that represented patriotic ideology and signified the bosom.

This thesis presents a close iconographic and contextual study of a set of seven Tibetan thangka paintings depicting portraits of the First through the Ninth Dalai Lamas, currently in a private collection and dated to the nineteenth-century. Through this case study, I propose to situate the genre of Dalai Lama portraits within the larger context of Tibetan Buddhist practice by considering their role and function in merit-making activities. I propose that as visual reminders of the Dalai Lamas, these portraits can be considered a type of “relic” that is foundational to devotional practices in Buddhism. Specifically, this thesis will investigate portraits of Dalai Lamas within the framework of Buddhist relic traditions. As a secondary focus, the thesis will examine the artistic conventions through which the figures are rendered present, problematizing the notion of “portrait-likeness.”

In Walter Pater’s work there are often mentions of discipline and ascesis in an explicitly positive way. But, in some of his work, discipline, although not ascesis, seem to be taking on a more negative form. Critics have nonetheless seemed satisfied with Pater’s explicit praise for discipline and the area is thus not very thoroughly researched. One area that is well researched is the homoerotic subtexts that are evident in a lot of Pater’s work, which critics have examined in a variety of different ways. I suggest analysing the imaginary portraits “Emerald Uthwart” and “Apollo in Picardy,” to argue that Pater contrasts the Ancient Greek notion of ascesis with the nineteenth century understanding of discipline in order to question the legal restrictions on homosexuality in late nineteenth century England. Due to the historical context of the 1885 Criminal Law Amendment Act, which criminalised homosexuality, and Pater’s regular use of—as well as his admiration for—Ancient Greece, I have found that there is a connection between discipline, ascesis, and homosexuality. In the essay I make use of some of Foucault’s theories, especially from The History of Sexuality Vol. 1 and Vol. 2., to argue that the juxtaposition between homosexuality and discipline and ascesis in the two portraits provides new insights to the intricacies of Pater’s work. Keywords: Walter Pater; discipline; ascesis; homosexuality; “Apollo in Picardy”; “Emerald Uthwart”; Imaginary Portraits

A epígrafe escolhida para inaugurar a presente dissertação de mestrado ilustra a experiência de ultrapassar barreiras socioculturais e transpor fronteiras no contexto do refúgio. O sujeito que se encontra refugiado é importante enfatizar que o refúgio é uma condição e não um estado inerente ao sujeito é desafiado a transpor obstáculos que não se limitam apenas a cruzar fronteiras e enfrentar o complexo aparato burocrático que antecede a outorga da solicitação de refúgio. Apenas para citar algumas, as barreiras são linguísticas, culturais, sociais e religiosas. Na busca pela efetiva integração, se faz necessário tornar essas barreiras, terra plana. O título do estudo que se apresenta é inspirado no mito de Ariadne: Teseu, por quem ela era apaixonada, é encarregado de executar o Minotauro, um terrível monstro que habitava um labirinto. Receosa de que Teseu nunca mais retornasse Ariadne lhe presenteia com um fio e com a recomendação de que ele desenrole o carretel enquanto estiver circulando pelo labirinto. Desse modo, Teseu poderia circular pelo labirinto sem se perder. Supomos que a labiríntica experiência do refúgio e da assimilação cultural deixa o sujeito em uma situação de humilhação social. Tal situação pode forçá-lo a se desfazer de sua língua materna, seus fios de Ariadne. Isso não necessariamente ocorrerá, uma vez que a língua materna consiste em uma orientação fundamental do sujeito. Assim, o refúgio desencadeia um processo psicossocial que abala as atitudes linguísticas do sujeito, sendo estas compostas, segundo Lambert e Lambert (1968) por: crenças (componente cognoscitivo), valoração (componente afetivo) e conduta (componente conativo). Para averiguar o impacto causado pela experiência do refúgio nos valores atribuídos às línguas que compõem a realidade linguística do sujeito empregaremos o Princípio da Valoração proposto por Damásio (2011) como principal fundamento teórico. Nossa conduta metodológica empregará os Retratos Linguísticos de Krumm (2003; 2010), um dos chamados métodos visuais empregados recentemente nos estudos linguísticos, para enfocar as relações psicoafetivas que o sujeito, na condição de refugiado, estabelece com a sua língua materna e com a língua estrangeira. Consideramos que tanto a discussão quanto a análise propostas consistem em um estudo experimental que se buscará investigar em que medida é possível conciliar métodos visuais e questões linguísticas com vistas a atingir uma maior compreensão sobre a configuração da condição de sujeitos multilíngues que se encontram socialmente vulneráveis. / The title chosen to inaugurate this master\'s thesis illustrates the experience of overcoming sociocultural barriers and crossing borders in the context of the refuge. The refugee - it is important to emphasize that the refuge is a condition and not an inherent condition of the subject - is challenged to overcome obstacles that are not limited to crossing borders and facing the complex bureaucratic apparatus that precedes the granting of the request refuge. Just to name a few, the barriers are linguistic, cultural, social and religious. In the search for effective integration, it becomes necessary to make these barriers, flat land. The title of the study that is presented is inspired by the myth of Ariadne: Theseus, for whom she was in love, is in charge to execute the Minotaur, a terrible monster that inhabited a labyrinth. Afraid that Theseus would never return Ariadne gave him a thread with the recommendation that he unwind the reel while he was circling the labyrinth. In this way, Theseus could circulate through the labyrinth without getting lost. We assume that the labyrinthine experience of refuge and cultural assimilation leaves the subject in a situation of social humiliation. Such a situation may force him to discard his mother tongue, his Ariadne threads. This will not necessarily occur, since the mother tongue consists of a fundamental orientation of the subject. Thus, the refuge triggers a psychosocial process that shakes the subject\'s linguistic attitudes, and these are composed, according to Lambert and Lambert (1968) by: beliefs (cognitive component), valuation (affective component) and conduct (conative component). In order to ascertain the impact of the experience of refuge on the values assigned to the languages that make up the linguistic reality of the subject, we will use the Principle of Valuation proposed by Damásio (2011) as the main theoretical foundation. Our methodological approach will use the Krumm Language Portraits (2003; 2010), one of the so-called \"visual methods\" recently employed in linguistic studies, to focus on the psycho-affective relationships that the subject establishes with his mother tongue and with the foreign language. We consider that both the discussion and the analysis proposed are an experimental study that will seek to investigate the extent to which it is possible to reconcile visual methods and linguistic issues in order to reach a greater understanding of the configuration of the condition of multilingual subjects who are socially vulnerable.

Made available in DSpace on 2016-08-10T11:07:04Z (GMT). No. of bitstreams: 1 LEANDRA VAZ FERREIRA DE ANDRADE.pdf: 831248 bytes, checksum: ec2538f30cac8fbdb6cd9c3af0e78868 (MD5) Previous issue date: 2013-02-03 / The recent work proposes a study of the book Retratos de Carolina , from the author Lygia Bojunga .Aiming to give an overview about women s role in society and the process of her evolution over time. It will be supported by researches related to story beyond various works about Brazilian literature. The work, central part of the research, shows, the growth s evolution and naturation s process of the protagonist: Carolina, from six to twenty years old, time in which she will face struggles with herself and conflicts arising from the relationship with others. This path will be accompanied from near by the reader, that is called to be part of the plot, by filling the voids left, and understand he trecks that mark the discursive style of the author. This dissertation is also an attempt of understand the process of manipulation of narracionais voices, the interweaving of discourses and transgression of the temporal order. This study also observes the transmutation into real to fictitious and character, at the same time to the transmutation of protagonist characters into narrator of her own story. / O presente trabalho propõe um estudo da obra Retratos de Carolina, de Lygia Bojunga, tendo como objetivo fazer um apanhado geral a respeito do papel da mulher na sociedade e o processo de sua evolução ao longo do tempo, o que terá como respaldo, além de pesquisas relacionadas à história, várias obras da literatura brasileira. A obra, corpus central desta pesquisa, apresenta o processo de crescimento, evolução e amadurecimento da protagonista: Carolina, dos seis aos vinte e nove anos, período em que ela enfrentará embates consigo mesma e os conflitos que advêm da sua relação com o Outro. Esse percurso será acompanhado de perto pelo leitor que é chamado a participar da urdidura da trama, através do preenchimento dos vazios deixados, propositadamente, pela autora e a compreender as artimanhas discursivas que marcam o estilo de Lygia Bojunga. Esta dissertação é, ainda, uma tentativa de compreensão do processo de manipulação das vozes narracionais, do entrecruzamento dos discursos e da transgressão da ordem temporal. O presente estudo observa também a transmutação da autora real em autora fictícia e em personagem, paralelamente à transmutação da personagemprotagonista em narradora de sua própria história.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:06:15Z No. of bitstreams: 1 Zakiee Castro Mufarrej Hage.pdf: 682922 bytes, checksum: 4dc0c05d18b618af3623577739a0716a (MD5) / Made available in DSpace on 2017-07-18T12:06:15Z (GMT). No. of bitstreams: 1 Zakiee Castro Mufarrej Hage.pdf: 682922 bytes, checksum: 4dc0c05d18b618af3623577739a0716a (MD5) Previous issue date: 2017-06-21 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / In the current technological scenario, social networks are part of the daily lives of young Brazilian adults and stimulate people's exposure. One of the main ways to expose yourself online is photographic posts. Research shows that Brazil is the second country that most accesses the Instagram application and its most connected public are young adults. In this context, the present research adopted a systemic vision and had as objective to identify the styles of use and to understand the meanings attributed by young adults to the photographs of self - portraits posted in Instagram. For this, the mixed sequential explanatory method was used, with a quantitative analysis of 60 profiles and later a qualitative phase, with semi-structured interviews with six collaborators, selected during the first phase of the research. In the quantitative phase, the application styles were identified, which pointed to the categories proposed in the literature and six other categories of images and sub-categories of self-portraits. The total hashtags posted were also counted. From a statistical analysis it was verified that the category of images most posed by men and women corresponds to the self portraits, with a large majority over the other categories: 44% and 43%, respectively. Within the subcategories of self-portraits, the face figures stand out for both sexes: 47% for men and 43% for women. Six interviewees with three men and three women were selected, based on the maximum variability criterion: two higher posters, two medium posters and two minimum posters. The interviews were analyzed through the thematic analysis and indicated that Instagram is an application that offers greater freedom of exposure, compared to other applications, with employees stating that in the application they can be shown in a less contained way, in a context of greater privacy. Participants are influenced by the external look in their posts and have been attentive to the rules of the number of photos that can be posted per day. The meanings attributed to the posts were: privacy, memory, beauty and happiness / No cenário tecnológico vigente as redes sociais fazem parte do cotidiano dos jovens adultos brasileiros e estimulam a exposição das pessoas. Uma das principais formas de se expor online corresponde às postagens fotográficas. Pesquisas evidenciam que o Brasil é o segundo país que mais acessa o aplicativo Instagram e seu público mais conectado são os adultos jovens. Nesse contexto, a presente pesquisa adotou uma visão sistêmica e teve por objetivo identificar os estilos de uso e compreender os significados atribuídos por jovens adultos às fotografias de autorretratos postados no Instagram. Para tanto, foi adotado o método misto sequencial explanatório, com uma fase quantitativa de análise das imagens de 60 perfis e posteriormente uma fase qualitativa, com realização de entrevistas semiestruturadas com seis colaboradores, selecionados durante a primeira fase da pesquisa. Na fase quantitativa foram identificados os estilos de uso do aplicativo, que apontaram para as categorias propostas na literatura e mais seis categorias de imagens e subcategorias de autorretratos. Também foram contabilizados o total de hashtags postadas. A partir de uma análise estatística foi constatado que a categoria de imagens mais postada por homens e mulheres corresponde aos autorretratos, com ampla maioria sobre as demais categorias: 44 % e 43%, respectivamente. Dentro das subcategorias de autorretratos, os de rosto se destacam para ambos os sexos: 47% para os homens e 43% para as mulheres. Foram realizadas seis entrevistadas com três homens e três mulheres, selecionados a partir do critério de variabilidade máxima: dois maiores postadores, dois médios postadores e dois mínimos postadores. As entrevistas foram analisadas por meio da análise temática e indicaram que o Instagram é um aplicativo que oferece maior liberdade de exposição, se comparado a outros aplicativos, com os colaboradores declarando que no aplicativo podem se mostrar de forma menos contida, em contexto de maior privacidade. Os participantes sofrem influência do olhar externo em suas postagens e se mostraram atentos às regras da quantidade de fotos que podem ser postadas por dia. Os significados atribuídos às postagens foram: privacidade, memória, beleza e felicidade

Magister Artium - MA / This mini-thesis attempts to analyse the way in which Van Kalker photographs enabled representations of the self and allowed sitters a means through which to assert themselves visually especially when considered against a backdrop fraught with the socio-economic and political tensions of apartheid. The Van Kalker Studio, started by the late J. G. Van Kalker in 1937 at 47 Victoria Street, Woodstock became one of the most popular photo studios in Cape Town. Despite the effects of apartheid legislation such as the Group Areas Act (1950), the studio retained its prominence as an institution in which to mark memorable occasions. I have selected these photographs because it has become pivotal to consider how these intimate, beautiful and complex photographs speak to questions of the personal and the familial within an unfolding history of the city of Cape Town. By considering the Van Kalker photographs not only as mere images but as material objects with historical traces that are enmeshed in highly emotive processes of production, usage, exchange, storage, and collection, it creates the possibility that meaning can be found in the way in which photographs are presented, and how they are appropriated and disseminated. Although the significance of photographs as material objects has been largely overlooked or fleetingly explored, I intend to address that loss of material understanding in the thesis by regarding the Van Kalker photographs both as images and material objects that co-exist together. In pushing the argument of the thesis further, I will argue that through the display of Van Kalker photographs as material objects in prominent positions in the domestic interior, it serves as poignant reminders of personal and familial relations. Through an exploration of the Van Kalker photographs and the way in which they were appropriated, this thesis aims to weave an ephemeral visual seam across time and space, one that especially connects those that had theirphotographs taken at the Van Kalker studio despite their geographical dis/location.

This dissertation examines paintings by the Florentine artist Agnolo Bronzino, and by his teacher, Jacopo Pontormo. It takes as its focus works created during the period of 1529-39, a decade of political uncertainty and social unrest predating Bronzino's career as court painter. The study begins during the brutal Siege of Florence in 1529-30, which brought an end to the last Florentine republic. Although the republic's defeat made way for the establishment of the Medici duchy, the 1530s were marked by fervent and unrelenting republican opposition to the new dukes. These circumstances provide the background to this study, in which paintings by Bronzino and Pontormo are shown to offer eloquent--if sometimes cautious--comment on recent political events. The initial chapters address the relationship between two paintings carried out during the Siege, reconciling Pontormo's Portrait of a Halberdier (Francesco Guardi) with its allegorical cover, Bronzino's Pygmalion and Galatea. The first chapter reconsiders the role of Venus in Bronzino's painting, attributing to her a rousing, rather than pacifying, influence; she is shown to be a deity especially well-suited for reverence by young Florentine soldiers, and a fitting subject for the cover of Pontormo's republican portrait. The second chapter explores the specific political significance of Bronzino's artistic choices, paying special attention to his allusion to Michelangelo's marble David, whose form he incorporates into the figure of Pygmalion's beloved Galatea. The young hero David--shown to be one of the period's most potent republican symbols--is somehow manifest in each of the paintings considered, linking the four chapters. But whereas the Pygmalion and Galatea and Portrait of a Halberdier are explained as republican pictures created under republican rule, the portraits examined in the third and fourth chapters are presented as subversive images created under the Medici dukes. The third chapter reinterprets Bronzino's Portrait of Ugolino Martelli (c. 1537), as an expression of republican opposition to ducal rule. The fourth chapter proposes a new dating for Pontormo's Portrait of Carlo Neroni--presently understood as a republican picture dating to the period of the Siege--relocating its origin to c. 1538-9, well after the republic's defeat. This reassessment has important implications for a number of portraits by both artists, and it calls into question currently accepted art-historical approaches to Florentine culture in the 1530s. By identifying examples of republican factionalism in portraits painted by Pontormo and Bronzino under Medici rule, this dissertation discovers political dissent where previously considered impossible.